Apocalypticism, Republiconmunism and Race-specific Bio-Weapons

January 9, 2013 9 Comments

All aboard! Here's your passport to republican utopia!

All aboard! Here’s your passport to republican utopia!

By: Jay

For a long time I’ve held back on my actual thoughts on things, but nowadays I could care less. The actual operation of the entire society has become so absurd, backward, and irrational that it is now comical. For those aware, it is quite evident there is a long term plan to re-engineer and reorganize the western world in particular. The modern world is under the delusion that it has been freed from the prison of “superstition” and “dogma”: Altar and throne have been overthrown and now the “New Man” can arise from the ash heap of millennia of “dark ages” and oppression. Modernity has given us medicine and personal computers, right? Indeed, so onwards towards the great utopia! But is this so?  Why do the day-to-day lives of those of use in modernity seem like everything but the great utopia?  The previous millennia has seen a multitude of millenialist demagogues hellbent on establishing the “Great Society,” yet the he awakening public is becoming aware of the sense that modern utopia is really another form of enslavement, as even Zbigniew Brzezinski has noted on multiple occasions.

But what if the uprising of the masses is not really a good thing? Mass uprisings bring forth the reordering of society under a new hierarchy: not the elimination of hierarchy. Marshalling of the masses for political means has ever been the tool of petty tyrants, demagogues and gainsayers, as well as powerful larger interests. To understand the gigantic farce of the modern world’s beliefs about itself, it is to the ancient world that we must turn. This is a point you will almost never hear mentioned, so grab your pen and paper and get ready for notes. Following upon the French Revolution, most of the western world supposedly rejected monarchy and religion in favor of Enlightenment Republicanism. Obviously this doesn’t mean Sarah Palin and George Bush. By “republicanism” is meant the idea of a republic, and the idea of a republic cannot be divorced from Plato, and an analysis of the Republic should be given, but before that, the stream (or sewer) of millennial sects and movements must be explained.

Prior to the French Revolutionary Jacobins and so-called “illuminists,” came the medieval heretical sects of the Bogomils and Cathari that represented the most significant challenges to papal power. While never an organized front, the sectarians were able to wrest various sections of Europe from Roman primacy, while the compliment in the East could be seen as Islam, representing similarly a gnostic challenge to the Imperial Orthodoxy of Byzantium (such is the origin of Bogomilism, which birthed the western gnostic movements).

Also concurrent with these movements were the Catholic orders that had similar trends, like the Franciscans and pseduo-millennialists like Joachim of Fiore. The Joachimites and some Franciscans foresaw an era of mass pouring out of “the Spirit,” ushering in a “golden age” of humanity living righteously. In fact, Benedict XVI has even written concerning these connections in Joachim as follows:

“Ratzinger dug deep in his research. And he discovered that in Bonaventure, there is a strong connection with the vision of Joachim of Fiore, the Franciscan who had prophesied the imminent advent of a third age after those of the Father and the Son, an age of the Spirit, with a renewed and entirely “spiritual” Church, poor, reconciled with Greeks and Jews, in a world restored to peace.”

I think there is a clear conduit from this to modern revolutionary movements. The Thomas Muntzer rebellion should also be mentioned as important currents of modern socialism, inasmuch as Muntzer attempted to practice perfect and total communism. It is also important that these centers of rebellion were France, Germania and Hungary: future centers of radical communism and “illuminism.” Renaissance humanism and the Reformation gave birth to the revolutionary movements of Illuminism and socialism, yet there are two crucial factors seldom mentioned in treatments of this subject that undergird all these trends: Plato and millennialism. Read more of this post

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Cloud Atlas (2012) – Esoteric Analysis

October 30, 2012 4 Comments

Film poster. “Everything is Connected.”

The Gospel of Illuminism

By: Jay

Cloud Atlas (2012) was an interesting film on several levels. Fans of both the Wachowskis and Tom Tykwer will quickly recognize the fingerprints of all three, especially philosophical elements of the Matrix trilogy.  From the perspective of moral assessment, there is much in the film that I object to, but artistically speaking, I think it was excellent.  On a deeper, symbolic level, the film also has a wealth of beautiful imagery that alone made it worth watching, while on an even deeper, esoteric level, it is clear as to its meaning: metempsychosis and gnostic deification.  The history of western esoterism has long been obsessed with the notion of reclaiming lost knowledge and technology, all the way back to Plato’s Timaeus, and its legends of Atlantis.

Though I have not read the novel, I can divine its meaning from the film.  While audiences the land over appear to be bewildered, the knotted yarn can easily be untangled.  Early on, we are clued into a reference to Nietzsche’s ”eternal recurrence,”  a shooting star birthmark that recurs in characters over different generations, and a highly significant musical piece being written, known as the “Cloud Atlas.”  In total, six different time periods with a handful of reincarnated persons all interconnect, leading from 1846 to 2346.  The other element that stands out is that each of these periods includes some system of oppression.  The first, 1846, involves slavery and human trafficking, with a good Christian man helping save the life of a good-hearted slave.  In the next, a Cambridge University gay couple battles the system of post-Victorian era “sexual oppression,” which leads to one of the two writing the ”Cloud Atlas” musical piece.

From there, a hot 1970s journalist Halle Berry interacts with one of the gay lovers who has documentation to expose a large nuclear facility that is planning on a false flag event to make nuclear power look bad, for the benefit of big oil.  Next, we are introduced to a publisher in 2012 London who engineers an escape from an old folks’ home, and from there, we move to a dystopian Korean future where a one world government known as “Unanimity” rules with technocratic iron fist.  In this timeline, Sonmi-451 is a genetically engineered clone that works as an acolyte in the religion of the future: Fast Food.  From there, we move to a post-apocalyptic unknown continent that has been destroyed by what appears to be a nuclear disaster or war of some kind, in which the future future Tom Hanks must guide a future future Halle Berry to the location of a Sonmi “temple,” which is actually the technology to go offworld.

Without getting bogged down in the details of the non-linear narrative, and exactly how they connect, the viewer should understand that the story is told in a non-linear fashion to associate the viewer with the idea of eternal return.  The narratives are non-linear like the philosophy: each character is thus reincarnated into different roles and forms, based upon the decisions and roles made in the last life.  Death, as Sonmi-451 (the film’s prophet-philosopher), explains, is just a doorway to the next life.  The decisions you make in this life, determine the birth in the next, she explains.  This is metempsychosis, and the ancient transmigration of souls taught by Plato and the Eastern mystery religions.  The wheel of birth and death can only be transcended by enlightenment and right living, the general philosophy goes, which will lead to the recovery of the lost gnosis, or in this case, and in some of western esoterism, lost technology. Read more of this post

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Blood Meridian as Gnostic Tirade: A Response to Harold Bloom and Leo Daugherty

December 9, 2011 4 Comments

Cormac McCarthy's "Blood Meridian"

  

By: Jay

     Cormac McCarthy’s Blood Meridian is considered by many critics to be one of the best novels of the last century, ranked by many with Moby Dick and Absalom! Absalom!, while some have called McCarthy the heir apparent to William Faulkner and Flannery O’Connor.  Blood Meridian is certainly not your average book, and as such, many find it difficult and inaccessible.  As Harold Bloom notes, it is a modern great, and in may respects resembles Homer or Dante.   However, Blood Meridian is also more than a novel: it is a statement about many things, the most crucial of which is McCarthy’s gnostic tirade against life as it is.

     Critic Leo Daugherty’s thesis is thus only partially correct: that the novel is a “gnostic tragedy,” and this is precisely what endows the novel with its elevated style and inaccessibility.  Daugherty’s thesis is too weak: to those steeped in the theological discourse of the early patristic period, including the polemical tracts of the early fathers such as Irenaeus of Lyon, it is quite clear that Blood Meridian is brimming with gnostic themes and ideas on virtually every page, and is fact is a gnostic polemical tirade.  Daugherty is correct about it being gnostic. However, there are many elements he misses and misinterprets.  My purpose is to respond to his statements, as well to Bloom’s claim that it is incorrect to see the Judge as a gnostic figure or archon, but rather that he should be cast as more of an enigma. Bloom claims:

     The citations and references to the work of Jacob Böhme, who is, after all, a very specific type of Kabbalistic Gnostic… I think you would have to say that they’re something of an evasion of the themes in Blood Meridian. McCarthy knows exactly what Gnosticism is, and he could have made Judge Holden into an explicitly Gnostic figure if he’d wanted to. He wants to keep Judge Holden completely inexplicable. Saying that he is a sort of Gnostic demiurge is too facile for McCarthy’s portrayal of him.[1] Read more of this post

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The Dark Crystal – Esoteric Analysis

February 27, 2011 11 Comments

Henson's Dark Crystal

By: Jay

 Much like Labyrinth, Jim Henson’s The Dark Crystal is one of those kid’s films all of us who grew up in the 80s seem to have a strange affinity for. And, much like Labyrinth, it is chock full of Henson’s same occult proclivities. While Labyrinth, in my analysis, constituted the inner journey into Sarah’s psyche (much like Inception is an inner journey into Cobb’s labyrinthine psyche), Dark Crystal is more of an exterior journey.

 We are told in the beginning the setting is a long gone “age of wonder” on another world where time comes and goes in thousand-year cycles, or aeons. Such terminology may be said to be of another world, but as the symbolism necessarily goes, such films (and all stories in general) function as statements relative to the human story. Thus, the two great races that arise in the age of the Dark Crystal are symbolic of two kinds of people (passive and aggressive/followers and elites), which is itself a manifestation of the film’s obsession with duality. Indeed, the film follows perfectly in a long train of gnostic nostalgia, elsewhere reviewed by me.

 The notion of a 1,000 year cycle is also a Hindu theme, similar to the theory of Kali Yuga, where we are currently entering an age of dominance of chaos, the demonic, strife and dischord. This is also similar to the notion espoused by other occultists that this is the aeon of the child, etc. Occultist Madame Blavatsky also formulated bizarre theories of numerous other races and worlds that preceded our own, as well as the Babylonian Talmud mentioning such ideas. It becomes evident that Henson, like Lucas, borrowed heavily from the mythology of various cultures in creating these fantasies.

 The eastern dualist conceptions are marked in the film, as mentioned. The Skekses represent the left hand path of severity and cruelty, control and empire, while the “gentle mystics” are supposed to represent the “gentle ways of natural wizards.” The Skekses, then, are harbingers of technology and power – they harness the Dark Crystal for the purpose of advanced control mechanisms and even brainwashing (yes, brainwashing), while the mystics are purported to be in tune with nature and the forest. The Mystics, as is worth noting, chant the Buddhist “Om,” further reinforcing the eastern dualist religious conceptions, while the Skekses are busy enacting the “Ceremony of the Sun” for the passing of the Emperor, which brings to mind ancient Egyptian theology, and it’s identification of Pharoah as son of Ra. Read more of this post

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Tron Legacy: Esoteric Analysis

January 9, 2011 11 Comments

Notice the pyramidal structure of the black on bottom and top, from which light emanates. This symbolizes the gnostic version of as above, so below - dualism. Its "Just a Game" because its an illusory world.

By: Jay

I hate to always harp on gnosticism, but it’s undeniably the recurrent theme of most sci fi and fantasy/cult films. Gnosticism is the ancient perennial tradition that descends from Egypt and (possibly) older civilizations. In its modern form, it comes to us from the Nag Hammadi documents recently discovered, whose tradition was passed down in the secret societies and occult orders, of which Freemasonry is a good example. I am not saying that Freemasonry is actually a lineage from Egypt, but that there is a similarity of doctrine that has come down through the ages. 

By the first century, the gnostic traditions flourished, rivalling and challenging other sects, becoming a force of its own. To put it simply, gnosticism posits that the present creation is a subordinate, evil one, wherein evil is given a substantial existence as the created order itself. Religions such as Manichaeanism are perfect examples of this trend, where a dualism is sometimes posited between a “good” God who is far away and unknown, identified with thought or light, and an evil deity or demiurge, identified as the Creator of this world. In the time of the rise of Christianity in the first three centuries of the Church, the gnostics were the chief opponents of the God presented in the Law and prophets of the Israelites, and charged God with Himself being evil.  Texts such as the Hypostasis of the Archons and The Gospel of Thomas are prime examples.

The gnostics instead proffered that “Jesus” was thus a revolutionary reformer who tossed away all traditional concepts of Jewish theology, and brought in the new gnosis, or knowledge – the Gospel of salvation through enlightenment. It is to such patristic commentators like Irenaeus of Lyon and Tertullian of Carthage that we get an indepth glimpse into 2nd century gnosticism, from figures like Marcion.  But gnosticism is not just a reaction against the God of the Bible, it also shares many commonalities with ancient eastern religions like Hinduism and Buddhism, and thus exemplifies syncretism.  Themes such as pantheism and/or dualism, many gradations of archons, or gods or avatars that rule this kosmos, etc., all recur in gnosticism. In this regard, gnosticism is in many ways the inheritor of the ancient pagan religions, and particularly Egypt.  So with that said, we can now analyze the kind of symbolic scheme that is put forth as an image of our world as presented in Tron Legacy.  

Daft Punk, who did the soundtrack and appears in the film, performs here atop the pyramid.

Central to gnosticism is the theme of redemption or salvation from this world through special knowledge, which constitutes the “gnosis.” Generally, this is knowledge that has been lost, and must be recovered, often symbolized in literature or film by some magical object or memory, etc. In Tron, Flynn’s (Jeff Bridges) son, Sam, must “save” his father from the “grid,” or matrix, where he has become enslaved, having more or less forgotten his family in the real world. Sam, of course brings to mind “Sammael,” another name for Satan in the biblical tradition, and this makes sense, given that Tron presents Sam Flynn as the savior of the feminine archetype, “Quorra.”  This also mirrors gnostic themes, where the feminine principle, the Pistis Sophia is one of the archons of gnostic salvation.  Wikimedia notes of Quorra:

Quorra, the Pistis Sophia, revealer of mysteries and the psyche of the (cpu) world

“Prior to the conflict between the Basics and ISOs, Quorra was friends with Radia. She witnessed Clu’s betrayal when he attempted to kill Tron and Flynn, and when Clu declared war, she – with the help of a prototype security program named System Monitor – attempted to warn Radia and the ISO’s about him as well as combat the viral program Abraxas.” Read more of this post

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Decoding Donnie Darko – Esoteric Analysis

November 6, 2010 11 Comments

Film poster showing frank’s mask in collage: a demon rabbit. ‘Deus ex machina’

By: Jay

Donnie Darko is, on its most basic level, a film that is homage to 80s culture. It’s a cult classic (like many 80s films!) that references other 80s films, uses popular 80s film themes, and is set in 1988. But that is not all Donnie Darko is about. The film also makes statements about the socio-political and cultural developments of the late 80s, the reversal of family roles, etc., as well as being a superhero film, or more properly, an anti-super-hero narrative. It’s also a film that presents the age-old debate about predestination and free will; it posits alternate dimensions and worlds. But that isn’t all, either. It also contains elements of Jungian psychoanalysis, gnosticism, and the occult.

And now, let’s analyze. Here is the opening sequence:

It ends with the line from “The Killing Moon” song, ‘fate, up against your will; he will wait until you give yourself to him.” The classical hero had to face up to his face and survive it with stoic resolve. That is one level of Donnie Darko – the hero who must face up to his destiny, and we have been clued in to this by the opening song.

We see at the dinner scene that the family is dysfunctional – the father is not a father, and will remain passive throughout the film, as the mother runs the family and the children are rebellious and profane. This relates to the film’s criticism of 80s culture, especially its backward, hypocritical suburban morality. Note at 5:53 we see the Escher drawing of the eye prominently displayed, and as many know, in the reflection of the pupil, is death. Death will be a major theme in the film, but not just the generic notion of death, but death from a particularly Jungian and gnostic perspective.

Consider as well when Donnie awakens from his dream state and enters his trance state, at 8:23 what is visible is the Led Zeppelin album label image for Swan Song, which features an image of Lucifer falling, next to the upside down flag, signifying nation in distress. I am speculating here, but perhaps the two images are linked. Perhaps not. Regardless, the Lucifer and eye imagery is prominent in the film throughout, as we will see. Consider again the two prominent images in Donnie’s room. Recall that it is the engine that will “fall” through the roof – right where the image of Satan is. Without getting into too much speculation, the All-seeing eye is sometimes associated with Lucifer or Satan, but it generally depends on the context and intent, since it is also used to refer to the omniscience of the true God. Solomon speaks of God’s all-seeing eye in the Proverbs. Egyptians applied the image to Horus as a symbol of the divine attribute of omniscience. Point being, it means different things, but in modern masonic and Satanic culture, it is often applied to Lucifer:

Led Zeppelin Swan Song/Lucifer Image

It’s important to know as well that in most films, the details are crucial. Directors and producers place things there for a reason – acute attention is given to details. And, if you watch DVD commentaries, you will see them often speak of this.

It is significant that Frank, the dead spirit that possesses Donnie, communicates at midnight. Midnight is associated in many traditions with liturgical actions, and presumably in the occult as well. We read in Stoker’s “Dracula”: “It is the eve of St. George’s Day. Do you not know that tonight, when the clock strikes midnight, all the evil things in the world will have full sway?”

The spirits of the dead and demons commune at midnight, and this is when Frank speaks to Donnie, especially as we move closer to Halloween, which will be very significant. That is when Donnie’s “world” will end, as Frank explains, when he first speaks to Donnie in a trance. Again, speculating here, but the first list of numbers are all composed of or can total 666. Six, in gematria, is the number of man, and in the Apocalypse of St. John, the number of the Beast. Frank says “28 days, 6 hours, 42 mins, 12 seconds” and the world will end.  8-2 is 6, 6 hours, 4+2 is 6, and 12 is 6 + 6. With the level of depth and thought put into the film, I don’t think this is a stretch, though I have no way to prove it, of course. Read more of this post

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Paranormal Activity 2: Poltergeists, Panoptic Propaganda and Neo-Gnostic Nudgings

October 25, 2010 3 Comments

Film poster

By: Peter Parker

So, I got dragged by a friend to go and see the film Paranormal Activity 2, despite the fact that I never saw the first Paranormal Activity. In the long run, I don’t think my missing the first one mattered all that much. Without giving away too much, the plot centers around a family whose house is being haunted. Initially they mistake the haunting for a home invasion and respond by purchasing a high-tech security system with cameras and microphones in every room, recording their activity 24 hours a day. The film purports to be real footage of real events, edited together from the security camera recordings. As I understand it, this is basically the same premiss as the original Paranormal Activity.

In presenting itself  as being composed of real footage, PA2 is also similar to such pseudo-documentaries as the original Blair Witch Project, Cloverfield, District 9, and the The Fourth Kind. On the one hand, this recent attempt by Hollywood to blur the line between fiction and reality, can simply be taken as a way of giving a movie a creepier atmosphere. Even viewers who enter the theater with the understanding that they are watching a fictional story, might find themselves being drawn into the film’s pretense of reality. Our minds have been culturally conditioned to receive documentary style narratives as something more than a mere fantasy concocted for our entertainment. Thus, even if it is only on a semi-conscious level, the story presented by a “pseudo-doc” is often able to fly under the radar of our suspension of disbelief. The more believable a film is, the greater the emotional response from the audience or so the theory goes anyway.

Of course that’s just the superficial examination of the pseudo-doc’s ostensible purpose. Readers might be familiar with the methods of deeper textual and pre-textual analysis applied to various Hollywood films elsewhere on this site. These readings operate under the assumption that mass cultural itself is often used as a covert tool to inculcate the public into some form of elite agenda or philosophy. If we consider both the first and the second Paranormal Activity in this light, we see a film series which normalizes the idea of the so-called panoptic state. The very nature of the pseudo-doc acclimatizes the audience to a voyeuristic mind-set (a necessary ingredient for any functioning panoptic state) but Paranormal Activity 2 goes a step beyond this. In presenting 24 hour video surveillance as the only natural recourse to a supposed home invasion, PA2, lowers the bar where our standard of personal privacy is concerned. Seriously, not one member of the family even bats an eye over the idea that they’re all going to be recorded at all times from now on. Frankly, they should be more scared of that prospect than any (SPOILER WARNING) first-born son stealing, invisible demon thing. PA2 is not the only recent film psychologically preparing us for a surveillance state, the incredibly popular 2008 film The Dark Knight, has Batman (a character who is the very symbol of moral justice itself) converting all of Gotham city’s cellphones into an omnipresent sonar network. Read more of this post

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Collins Brothers on the Occulturation of Culture

July 12, 2010 2 Comments

The Collins brothers desconstruct the modern occult explosion in this podcast, in particular the Twilight tripe, as well as other dark manifestations.

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Lost Ends Up Lost in Syncretistic Gnosis

May 24, 2010 Leave a comment

By: Jay

The “television event of the decade” ended with what is, in my opinion, the cheesiest and empty theme it could have possibly had.  As it turns out, as many had speculated, the entire storyline was Jack’s (and the other Oceanic passengers) afterlife – or the season 6 alternate reality…? Either way I was disillusioned.  This was all fine and good.  We were led about with notions of alternate realities, time travel, other worlds, and so on.  All of this was also interesting and even within the realm of possibility.  However, what isn’t within in the realm of possibility is the overall message of Lost – all paths lead to “God.”

I noticed back when we were in season 2 or 3 we were dealing with some esoteric notions that were likely of a occultic and gnostic  flavor, and with mainstream Hollywood and TV, this is nothing suprising. We are bombarded with this on a daily basis, as we are being indoctrinated via pop culture into any and every religion other than what is actually biblical.      Read more of this post

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